Roadsides as runways: trend spotting invasive plants

Purple loosestrife as a roadside attraction.
Dee Salomon


Purple loosestrife as a roadside attraction.
I can’t help but notice the roadside plants while I am driving. This spring, after an otherwise violent brush cutting along Route 7, I spotted a large and glorious patch of trillium; the other day I noticed that the super-spreader Japanese stiltgrass has taken over the sides of a local thoroughfare that shall not be name-shamed. Roadside plants are both a seasonal timestamp and a leading indicator of what invasives we will soon be grappling with inside the boundaries of our own properties. A kind of drive-by trend spotting.
A new-ish umbellifer dotting the roadsides this summer, Wild parsnip, Pastinaca sativa, is a tall, fennel-shaped invasive that has, thankfully, now withered to a brown skeleton. For cyclists this summer it was a surprise, then a worry. Skin contact with the plant can cause burns and blistering welts. If it gets into the eye it can even cause blindness.
The plant that is currently engaging my peripheral vision from the road is purple loosestrife, Lythrum salicaria. By the time you read this it will be winding down its blossom and going to seed. One is forgiven for not taking this one seriously; with its skinny stems and distractingly vibrant flowers it is arm candy to the native goldenrod it often accompanies. I saw it in a bouquet at a dinner last week and thought that we should all be making purple loose strife bouquets in an effort to stop its spread. True to its name, this loosestrife is a troublesome invasive that bullies out native neighbors with a combination of its dense perennial rootstock and prolific seeder. According to the Connecticut Invasive Plant Working Group, a mature plant can produce more than 2.5 million seeds annually.
Purple loosestrife is most often seen in wetland areas; its seeds can germinate even after a couple of years spent under water. Cut it down to prevent the seeds from spreading; it is hard to pull out by the root. If you only have a few, consider using a shovel to dig out the roots, which you will need to do consistently over a few years. It does get better. Chemical control, especially in wetlands, is best left to a professional.
There have been attempts at biological control against purple loosestrife; four types of insects were approved for release in Connecticut years ago to slow down the plant’s spread including a leaf eating beetle and a root eating weevil. My sense was, over the last few years, populations of the invasive plant were declining. This year, perhaps due to the mild winter or the heavy rainfall, it seemed to be everywhere.
There are both native and invasive loosestrifes co-existing in our area so a quick lesson to help you distinguish between them. There is a smaller, paler purple-flowered native called Winged loosestrife, Lythrum alatum, that I have never seen here and would like to know if any readers have encountered the species nearby. If you have, please send me an email at dee@theungardener.com
The other three are all yellow-flowered. Yellow loosestrife, Lysimachia vulgaris, is the invasive type. Like its purple relative, it grows in full sun and prefers wetlands. The yellow flower has more of a golden hue than that of its native relatives, Fringed loosestrife, Lysimachia ciliata, and Whorled loosestrife Lysimachia quadrifolia. Both of these native plants have distinctly paler yellow flowers that are less abundant on the stem than they are with the invasive type. Fringed loosestrife is abundant on the banks of the Housatonic where we live but so is the invasive version which I admit to not identifying it in time to keep it from establishing a robust stand in an area where I cannot shovel out the roots without causing erosion to the area. I will keep cutting it and see how it responds.
Back to the earlier-mentioned Japanese stiltgrass. If you intend to eradicate this prolific plant now is your last opportunity before it spreads its seeds, which are emerging from its slender stems. Consider first the area where it resides. In meadows and lawns you will do well to pull it out rather than weed whack so that there is no chance of seeding. Be sure to get your fingers down near the ground before you tug as the stem is as thin as a thread and will easily break with the root still in the ground. Not a disaster but it does risk re-growth this fall. For large and dense swaths, a weed torch will work wonders so long as you use with caution and safety measures. Remember to use this method only after a rain or early in the morning when the dew is thick and fallen leaves are not easily flammable. Always have a fire blanket or other fire eradication system by you. Perhaps most importantly, to avoid stiltgrass infestation, ask your lawn care company to hose down their mowers before starting to mow your lawn. This time of year stiltgrass seed will travel on mowers from other people’s lawns to new spots.
The shrub and small tree called Burning bush, Euonymous alatus, is the next invasive plant to put on a show for us on the roadside runway with its brilliant bluish-red and then pink leaves trying to distract driving eyes. Don’t succumb – eyes on the road!
Dee Salomon ‘ungardens’ in Litchfield County.
Patrick L. Sullivan
This fish took a Wooly Bugger in basic black, with rubber legs. Always get the rubber legs.
Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Every August I shift gears and head to the ancestral HQ with no electricity, minimal plumbing and a warm-water lake chock-full of largemouth bass, not to mention smallmouth, perch, pickerel and panfish. The largemouth are the main attraction.
I used an antique rowboat for years. Then a canoe, which was awkward to manage solo, especially when the wind picked up.
Then I hit on a succession of inflatable pontoon and belly boats, powered by oars and/or swim fins, and there I have remained.
Did I forget to mention that no motors are allowed on this lake? Well, no motors are allowed, and it’s no good arguing that a small electric trolling motor couldn’t possibly hurt anything. Ask me how I know this.
It’s a quiet, rejuvenating few weeks. The phone gets enough signal on one end of the deck to receive messages and maybe make a call if the wind is right. If something comes up, it’s only 15 minutes to so-called civilization.
When not fishing, I read, visit assorted cousins, listen to baseball on the AM radio and/or stare blankly into the middle distance.
Bassing with a fly rod in still water is a different game than chasing trout in streams.
A medium-fast-action rod, 8 to 10 feet, in line weight 7 or 8 is the starting point. The flies are big, and the wind is constant, so the angler needs some power, tempered with a bit of finesse.
I usually bring two rods. One is rigged with a floating line with a heavy front taper for turning over surface flies such as poppers.
The other has either a sink-tip or intermediate line. The lake is not all that deep, and the Woolly Buggers, Clousers and other streamers are heavy. The idea is to stay out of the vegetation while getting close to where the lunkers are hunkered down.
I use short nylon leaders, 7.5 feet with 1X tippet out of the package, and modify them constantly with additional sections of fluorocarbon tippet, snaps and droppers.
Surface action is usually minimal during the day unless it’s overcast. The lake runs east-west, so the angler can track the midmorning and late-afternoon shadows and work those areas.
Or the angler can wait until about 6:30 p.m., when things start to pick up.
Or get out there at the crack of dawn, which is best if surface action is the goal.
For subsurface fishing, some experimentation is required to find the right combination of flies, leader and sink rate. The angler also has to decide whether to troll.
There are a few places where a dry-dropper rig is appropriate, the dry being an extremely buoyant popper with a piece of stout fluorocarbon tippet tied to the bend of the hook and something heavy and wiggly at the end, like a stonefly nymph with rubber legs. (Always get the rubber legs.)
If this sounds like a bobber, it’s because it is. Don’t tell anyone. The purists don’t like it.
A net with a long handle is necessary. There is no leverage when sitting in what amounts to a floating chair.
I do not bring my phone for fish pictures. I will drop it into the depths. Ask me how I know this.
Instead I bring a small point-and-shoot camera. These get lost too, but perversely I have better luck keeping the cheap gear safe than the expensive items.
Sunscreen is applied liberally and frequently. After 50-odd years of being outside, I now have to visit the dermatologist every so often to have my face edited, and I don’t enjoy it.
A baseball cap does nothing for the ears and neck. I have a hat with a wide brim and a vented top, so it doesn’t get too hot. It looks stupid, but this is an acceptable risk.
Finally, a word about the quarry. Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Smallmouth, not so much. These aren’t especially big, but every smallie I’ve ever met thought it was much bigger than it actually was. Expect acrobatics.
Perch usually grab my fly when I don’t want them to.

Panfish are everywhere. They are extremely cooperative. Chasing sunnies is a good way to get a newcomer started.
And then there are the pickerel. These are nasty fish. Very antisocial. I keep a pair of long-handled pliers handy to get the fly out of their mouths safely while admiring the large number of very sharp teeth. They will bite the pliers. Do not use your fingers. Again, ask me how I know this.
Upon release, it’s not unusual to observe the pickerel hanging around a few yards away, glaring and plotting hideous revenge.
So this is the August routine, occasionally leavened with a scramble into a brook trout stream if conditions allow.
It’s peaceful. Kind of boring, in a good way.
And then in the fall the game shifts back to rivers and streams for trout.

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Natalia Zukerman
Broadway is going way off Broadway when it heads outdoors for The Festival at Hutton Brickyards in Kingston Aug. 14-16, transforming the Hudson River waterfront into a three-day celebration of show tunes, stars and sing-alongs. The inaugural event features an all-star lineup including Audra McDonald, Kelli O’Hara, Renée Elise Goldsberry, Brian Stokes Mitchell and dozens more, along with a 30th anniversary celebration of the musical “Rent” featuring original cast members.
Hutton Brickyards is a former 19th-century brickyard transformed into a historic riverfront hotel and event destination spanning 100 acres along the Hudson. Beyond the nightly concerts, festivalgoers can expect campfire sing-alongs, dance parties, master classes, costume contests and a marketplace highlighting Hudson Valley food, drinks and artisans.
Three-day passes and more information are available at BroadwayFest.com.
Natalia Zukerman
The Crandell Theatre in 1948.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces.
Crandell Theatre in Chatham has spent a century bringing stories to the big screen, and this December the historic theater will celebrate its 100th anniversary with a yearlong tribute to the films, filmmakers and community members who have helped keep it alive.
The celebration continues Sunday, Aug. 23, with a special screening of Martin Scorsese’s “The King of Comedy,” presented as part of the theater’s 100th Anniversary Series by Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences. Kramer will introduce the 1982 film, a darkly comic exploration of celebrity, obsession and the pursuit of fame.
The 100th Anniversary Series invites industry leaders and film experts to share movies that have influenced them and continue to inspire new generations of audiences.
“The King of Comedy” is a fitting selection for a theater whose own story is rooted in the enduring power of cinema. Built in 1926 by Chatham native Walter S. Crandell, the theater opened on Christmas Day of that year with the silent film “Michael Strogoff.” Designed by Glens Falls architect Louis L. Wetmore in the Spanish Renaissance style, the freestanding building quickly became a beloved fixture on Main Street.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces. Sound equipment was added in 1929, allowing the theater to transition from silent films to “talkies.”
Over the decades, ownership changed hands, but the theater remained a gathering place for generations of moviegoers. In 2010, following the death of longtime owner Tony Quirino, the theater faced an uncertain future. Community members rallied to save it, with the Chatham Film Club raising approximately $600,000 to purchase the building and complete critical repairs.
The Crandell reopened as a nonprofit community theater in July 2010. In 2018, the organization officially adopted the theater’s name, bringing together its film programming, preservation efforts and annual FilmColumbia Festival under one mission: preserving the theater as a cultural anchor for Chatham and the surrounding region.
A major restoration and modernization project was completed in 2025, bringing the historic theater up to current standards while preserving its architectural character. The renovation included updates to the auditorium, projection systems and building infrastructure.
For former board member Carol Sadlon, the upcoming centennial represents both a celebration of the theater’s history and a testament to the community that has protected it.
“It has been an honor to serve on the Board of the extraordinarily unique Crandell Theatre, celebrating its 100th birthday this December,” Sadlon said. “Renovating the not-for-profit community theater has been a labor of love and commitment for all involved.”
Sadlon noted that the theater’s creation in 1926 reflected the optimism of the era, and that the same spirit continues today.
“Walter S. Crandell, successful Wall Street investor and native son of Chatham, built the 500-seat theater for a community of 3,000 people,” she said. “Thanks to an equally optimistic group of people, the Chatham Film Club, who purchased the theater in 2010, and a very generous community, the theater lives on to continue entertaining for future generations.”
The Crandell Theatre’s 100th Anniversary Series screening of “The King of Comedy” will take place Sunday, Aug. 23, at 4 p.m.
For tickets and more information, visit crandelltheatre.org.
Natalia Zukerman
MOMIX is one of the featured performers at this year’s Arts Connected fundraiser on Aug. 29.
The Northwest Connecticut Arts Council will celebrate the region’s vibrant arts community with Arts Connected 2026, its annual fundraising event, on Saturday, Aug. 29, from 5 to 8 p.m. at Buck’s Rock Camp in New Milford.
More than a fundraiser, Arts Connected is designed as a celebration of the artists, performers and organizations that make the Northwest Corner’s cultural landscape thrive. Guests can enjoy live music and performances, a curated gallery of artwork by regional artists, local food and drinks, and opportunities to connect with fellow arts supporters. Tickets include hors d’oeuvres, an open bar and all entertainment.

The evening will feature live plein air painting by artists from Plein Air Litchfield, performances by Our Culture Is Beautiful (OCIB), fire performer Cinderfella, and Susan Becker Aziz’s monumental humpback whale puppet, originally created for Paul Winter’s “Missa Gaia.” Guests will also have the opportunity to purchase artwork from a curated exhibition, with proceeds supporting the Arts Council’s mission to strengthen and promote the arts throughout Northwest Connecticut.
This year’s honorary host committee includes Meryl Streep, Diane von Furstenberg, Tim Daly, Téa Leoni, Maria Horn, Patti LuPone, Jack O’Brien, Sam Waterston and Paul Winter. Creative cocktail attire is encouraged, and attendance is limited. The event is open to guests 21 and older.
For more information or to purchase tickets, visit artsnwct.org

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